Programming

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Artistic programming is a major part of what I do . I programme music, theatre, dance, literature, spoken word, and cultural events, festivals such as discussions, and debate. As programme Manager at the Drum  (UK’s leading intercultural arts centre) I specialized in a culturally diverse programme reaching the widest range of communities in the West Midlands. The programme presents a broad range of performance including Gujarati and Punjabi language theatre, Jamacian Patois plays, Qawwali music, Ghazal, contemporary dance, reggae, soul and hip-hop, world music, political debate and much more. Curating The Drums programme required broad knowledge and expertise in diverse artforms, communities, attitudes and audience’s and how to connect with them to deliver a programme that resonates. The drum required complex, highly specialized programming.  In contrast, the Brindley (in a small town in Merseyside with a 99.8% white British population) catered for a more traditional theatre/venue audience including rock, trad jazz, comedy, ballet, children’s theatre, pantomime and shows.

To negotiate profitable contracts with agents I draw on professional expertise to assess the total cost of performance (artist fee, technical specifications, security, PRS, staffing, VAT) against forecasted ticket yields and projected audience numbers. To reach The Drums income targets I programmed several large off-site events for audiences of up to 25,000. Examples include Simmer Down (25000), Pankaj Udhas (3000), Reggae Salute (3500) and George Clintons P-Funk (1500). I often co-produced larger shows (co-pro’s) with established partners (Dance Exchange, Mostley Jazz & Funk, Hare & Hounds). In these circumstances I enter a business partnership with the co-promoter.

As Programme & Arts Manager at The Drum, I was responsible for the direction and delivery of organizations, artistic programme including commercial performance (music, dance, theatre, literature and more), arts development, audience development and community engagement/education and outreach. As Arts Development Officer with Halton Borough Council, I was responsible for the design and delivery of a comprehensive Arts Development strategy across Halton and the artistic programming and business planning at the award winning the Brindley Arts Centre. I am used to developing and implementing strategic development/business plans that feed into broader strategies.

I worked within the team that led the fundraising, build, launch and ongoing programming of Brindley Arts Centre; a multi-purpose arts facility with a 520 capacity Theatre, 175 capacity studio/cinema, a gallery space and a range of education facilities. Following its launch in 2005 I worked as the Brindley’s artistic director for music and community engagement, developing the infrastructure for the venue locally, regionally and nationally and (as a new venue), delivered a major audience development programme.

 

A major aspect of my work is commercial arts programming. I programme music, theatre, dance, literature, spoken word, and cultural events such as discussions, and debate.  The Drum is the UK’s leading intercultural arts centre specializing in a culturally diverse programme reaching the widest range of communities in the West Midlands. The programme presents a broad range of performance including Gujarati and Punjabi language theatre, Jamacian Patois plays, Qawwali music, Ghazal, contemporary dance, reggae, soul and hip-hop, world music, political debate and much more. Curating The Drums programme requires broad knowledge and expertise in diverse artforms, communities, attitudes and audience’s and how to connect with them to deliver a programme that resonates. This is complex, highly specialized programming often with strong political overtones/implications.  In contrast, the Brindley (in a small town in Merseyside with a 99.8% white British population) catered for a more traditional theatre/venue audience including rock, trad jazz, comedy, ballet, children’s theatre, pantomime and shows. To negotiate profitable contracts with agents I draw on professional expertise to assess the total cost of performance (artist fee, technical specifications, security, PRS, staffing, VAT) against forecasted ticket yields and projected audience numbers. To reach The Drums income targets I programmed several large off-site events for audiences of up to 15,000. Examples include Simmer Down (15000), Pankaj Udhas (3000), Reggae Salute (2500) and George Clintons P-Funk (1500). I often co-produce larger shows (co-pro’s) with established partners (Dance Exchange, Mostley Jazz & Funk, Hare & Hounds). In these circumstances I enter a business partnership with the co-promoter.

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